The Queer Encyclopedia of the Visual Arts. Edited by Claude J. Summers. 2004. Cleis Press, USA. ISBN 1-57344-191-0 (pbk.). 373 pp. with illustrations.

This book goes a long way to answering the question of LGBTQ presence in the visual arts. It truly is a book about "recovering and reclaiming our artistic heritage."

Well written essays document the course of gay visual contributions to the arts in alphabetical listings from Abbema to Zenil. Each essay includes the authors name, a bibliography and cross references.

Of course, as with all such endeavors, it leaves out as much as it includes. It is heavily "biased in favor of European and American artistic traditions." Even so, "as the first comprehensive work of its kind, this encyclopedia is an important beginning, not an end." One can also check out the website at http://www.glbtq.com/ for new and updated entries and information.

Hidden Histories. 20th Century Male Same Sex Lovers in the Visual Arts. Michael Petry. 2004. Artmedia Press, UK. ISBN 1-902889-10 X. 144 pp. with illustrations.

Is it necessary to know the sexual orientation of an artist and who his lover was in order to better appreciate and understand his work? I think the answer is, yes-we want to know "that Dora Marr was Picasso's lover and muse, not his maid or cook" and we begin to draw inferences and correlations from that fact which influences the way we look at Picasso's art.

Although, this book concentrates only on the gay male artist and his lover we can draw the same correlations about lesbian artists but alas that book is for someone else to write. Interestingly, Mr. Petry states in his introduction that "it is not this text's contention that there is a gay aesthetic; a glance at the diversity of work included in this text should dissuade readers from such a conclusion. However, each artist, whatever his style or the content of his work, has been influenced by his same sex desires."

There are included a series of essays on definitions and terms of reference and essays relating the context in which gay men have had to exist and how they found ways to bypass the heterosexual abyss. The last part of the book is devoted to a series of short artist's biographies.

This book, as does the previous one, greatly expands our knowledge and view of the LGBT experience in the visual arts and as such makes an important contribution to the burgeoning field of LGBTQ studies.

Turkish Wrestling. Lawrence Grecco. 2004. Apollon Press, USA. ISBN 0-9729842-0-8. 92 pp. with illustrations.

Finally, there is a book on the subject of the famous and ancient sport of Turkish wrestling, Kirkpinar based on the ancient legend by the same name. Mr. Grecco's book is lavishly illustrated with superb photographs and just enough text to explain what all the excitement is about.

Although, this is not a "gay" event it is homoerotic by its very nature-men wrestling for the title of national champion, in a stadium filled with men dressed in only custom made leather pants, called "kispets," and oiled bodies glistening in the sun-last man standing is a national hero-his friends and relatives cheering him along every step of the way.

Mr. Grecco describes the entry of the contestants into the arena, "...taking their cue from the drums and flutes blaring from the sidelines, the competitors begin their warrior walk." He describes the oiling and the actual tournament which he says "...is perhaps closer in spirit, if not practice, to Japan's sumo matches, an ancient marriage of art and sport where ceremony and traditional heritage are on par with strength and skill." The best wrestler or "the Bespehivan" receives a golden belt from none other than the Aga, the local mayor, and the president of Turkey.

Mr. Grecco's book is both a homage and documentation of a 500 year old tradition which has survived unchanged into the 21st century.